V.  G.  FISCHEK 
ART  GALLERIES 
467  FIFTH  AVENUE 

EXHIBITION  of 
OLD  MASTERS  < 


/ 


COLLECTION  OF 
PAINTINGS  BY 
OLD  MASTERS 
OF    ALL  SCHOOLS 


THE  V.  G.  FISCHER  ART  GALLERIES 


FOUR  HUNDRED  SUmT-SEVEN  HFTH  AVENUE 

(OPPOSITB  THB  PVaUC  LIBKAKV) 


COLLECTION  OF 
PAINTINGS  BY 
OLD  MASTERS 
OF    ALL  SCHOOLS 


SEASON 
1912-1913 


THE  V.  G.  FISCHER  ART  GALLERIES 


FOUR  HUNDRED  SIXTY-SEVEN  FIFTH  AVENUE 

(OPPOSITE  THE  PUBLIC  LIBRARY) 


PREFACE 


FEELING  for  Art,  Beauty  and  Quality  are  the 
most  inspiring  elements  for  an  Amateur  and  Col- 
lector of  Paintings.    Lord  Byron  said:  "A  House 
without  Pictures  is  like  a  Body  without  a  Soul." 

Intense  Vitality — love  for  Life — ethically  creates  love 
for  everything  artistic. 

The  one  who  loves  Life  loves  Art,  as  the  sublime  expres- 
sion of  ever-pulsating  human  feeling. 

Two  Elements  invisible  and  inexplainable  as  Elec- 
tricity, form  Life,  "Emotion  and  Feeling,"  and  in  Art 
combined  to  these  two,  "Quality  and  Individuality."  It 
is  difficult  to  say  what  is  meant  by  Quality,  the  nearest 
explanation  is  "Culture  and  Tradition." 

A  masterpiece  is  only  the  one  which  with  irresistible 
force  influences  our  Imagination  and  mystically  creates 
in  us  Emotion. 

*      *  * 

The  Primitive  Painters  were  the  Children  of  Byzantine 
Art  and  found  the  earliest  and  most  glorious  expression 
in  the  fire  and  fervor  of  Giotto. 

The  Quatro  Centro  gave  us  Botticelli,  whose  Art 
resembled  the  perfume  filled  early  Spring  prefacing  the 
glorious  Summer  of  Italian  Art,  with  its  great  creative 
Masters  and  its  immortal  Art  of  the  Christian  Era. 

High  Renaissance  Art,  the  next  Evolution,  gave  us 
Raphael,  Michaelangelo  and  the  great  Colorists  Titian, 

[5] 


Tintoretto  and  Veronese  and  at  the  same  period  the 
astounding  first  Impressionist  El  Greco.  To  him  we  owe 
the  great  creative  power  of  Velasquez  and  without  the 
existence  of  both  these  Masters,  we  never  may  have 
heard  so  much  later  of  a  Goya  and  Manet. 

There  are  still  a  good  many  very  estimable  Critics 
who  consider  El  Greco  a  fad  of  Art  Historians  and  Art- 
dealers,  but  they  are  best  answered  by  the  great  Velasquez 
himself,  who  said:  "El  Greco  in  his  sublime  Art  repre- 
sents the  Bible  of  Painting  for  all  times  to  come.  I  have 
learnt  from  him  all  I  knew." 


«      *  * 


This  Catalogue  of  a  Part  of  our  Paintings  contains 
Masterpieces  of  all  Schools — it  would  be  incomplete  with- 
out the  expression  of  my  sincere  thanks  to  his  Excellency 
Dr.  Wm.  Bode,  Director-General  of  the  Royal  Prussian 
Art  Galleries;  Mr.  Bernhard  Berenson,  Florenz;  Dr. 
Max.  I.  Friedlaender,  Director  of  the  Kaiser  Friederich 
Museum,  Berlin;  Dr.  Hofstede  de  Groot,  Hague;  Dr. 
L.  Meyer,  Curator  of  Spanish  Paintings,  Alte  Pinakothek, 
Munich,  and  many  others,  who  all  aided  me  in  the  analyti- 
cal and  incontestable  authentication  of  every  Painting 
represented. 

Season,  1912-1913.      yiCTOR  G.  FISCHER. 


EARLY  ITALIAN 
PAINTINGS 


No.  1 

BOTTICELLI,  SANDRO 

Born,  1447;  Died,  1510 


THE  VIRGIN  AND  ST.  JOHN  ADORING  THE 

INFANT  CHRIST. 
Large  Tondo  on  Wood. 

Very  rare  and  uncommonly  complete  CofBpotibon  with 

deep  religious  feeling  of  humility. 

Charlottenburs,  d  21  Sepc,  1912. 

Dr.  Wm.  Bode  says: — ''Ich  danke  Ihnen  OMr  das  grocse 
Tondo  von  Sandro  Botticelli  gezei|[t  lu  babcn.  Et 
ist  ein  ieU  ^^rCQAtti^HliAaa  et  eine  gw  iieiK 
5€drhpc«Wonj7Zgi^^l»<4^hj**ftfib  ^ff^mMl  ihalidi 
kenne.  In  der  Erfindung  und  in  dem  Entwurf  itt 
diese  Madonna  mit  dem  jugendlicbcn 
Taufer  sehr  originel  und  piquaat  und 
ganz  vom  Meister  selbst.  Auch  in  der  AuifiilinMi^ 
die  ja  bei  solchen  grosseren  Andachtsbildem  in  der  Zflit 
urn  1485-1500  in  der  Ihr  Bild  entstand  mcifC  mm 
starker  Beihiilfe  von  Schiilem  gemalt  wiiria»  itc 
Botticelli  selbst  mit  beteiligt  gewcMB.  So  in  warn 
Beispiel,  die  treffliche  Gruppe  des  lMeil|(«i  Fi 
und  Seines  Jiingers  im  Hintergmade 
von  Sandro." 

W. 


No.  1 


BOTTICELLI,  SANDRO  fc^^^^""^ 

Born,  1447;  Died,  1510  ^^W^^^^^^Cr* 

THE  VIRGIN  AND  ST.  JOHN  ADORING  THE  ^ 

INFANT  CHRIST. 
Large  Tondo  on  Wood. 

Very  rare  and  uncommonly  complete  Composition  with 
deep  religious  feeling  of  humility. 

Charlottenburg,  d  21  Sept.,  1912. 

Dr.  Wm.  Bode  says: — "Ich  danke  Ihnen  mir  das  grosse 
Tondo  von  Sandro  Botticelli  gezeigt  zu  haben.  Es 
ist  ein  sehr  interresantes  Bild,  da  es  eine  ganz  neue 
Composition  zeigt,  die  ich  auch  nicht  einmal  ahnlich 
kenne.  In  der  Erfindung  und  in  dem  Entwurf  ist 
diese  Madonna  mit  dem  jugendlichen  Johannes  dem 
Taufer  sehr  originel  und  piquant  und  zweifellos  darin 
ganz  vom  Meister  selbst.  Auch  in  der  Ausfiihrung, 
die  ja  bei  solchen  grosseren  Andachtsbildem  in  der  Zeit 
um  1485-1500  in  der  Ihr  Bild  entstand  meist  mit 
starker  Beihiilfe  von  Schiilem  gemalt  wurde,  ist 
Botticelli  selbst  mit  beteiligt  gewesen.  So  ist  zum 
Beispiel,  die  treffliche  Gruppe  des  heiligen  Franciscus 
und  Seines  Jiingers  im  Hintergrunde  ganz  eigenhandig 
von  Sandro." 

W.  Bode. 


V 


Dr.  Waage»,  Treasures  of  Art  in  Great  Britain,  Page  ^, 
V^L  III,  1854.- 

Pictures  in  Stanstead  House  belonging  to  W.  Fuller 
Maitland,  Esq. 

SANDRO  BOTTICELLI 

"The  Virgin  and  St.  John  adoring  the  Infant  which 
is  lying  on  the  ground,  the  heads  are  of  earnest  and 
noble  sentiment  and  the  Infant  Christ,  which,  in 
opposition  to  the  usual  heavy  brown  tone  of  the  other 
portions,  is  lightly  and  transparently  colored,  is  truer 
to  nature  in  the  forms  than  is  usual  with  him." 

The  signed  Botticelli  in  the  National  Gallery  in  London 
comes  also  from  the  Collection  of  Fuller  Maitland,  Esq. 

Panel,  Tondo,  48  inches. 


1101 


No.  2 


MAINARDI,  BASTIANO 
(Brother-in-law  of  Ghirlandaio) 

Born,  (  ?  );  Died,  1515 

MADONNA  WITH  CHILD  AND  ANGELS. 

In  the  foreground  to  the  left,  the  Madonna  seated, 
with  the  Infant  Jesus  standing  on  her  knee;  on  the 
right  are  three  angels  with  St.  John;  in  the  background 
are  two  open  windows  through  which  you  see  a 
beautiful  Classic  Landscape  and  city. 

This  Painting  comes  from  St.  Petersburg  and  has  always 
been  held  to  be  painted  by  Lorenzo  di  Credi  and 
so  described  in  Russian  on  back  of  the  Painting; 
but  Mr.  B.  Berenson  has  given  it  to  Mainardi. 

Tondo,  39  inches. 

Mentioned  in  Florentine  Painters  of  the  Renaissance,  by 
B.  Berenson,  p.  214.      i,,  ( tvAw  ckX  .  . . ,     v  '  .! 


nil 


No.  3 


BONIFAZIO,  VENEZIANO 

Born,  1487;  Died,  1553 

THE  HOLY  FAMILY  WITH  SAINTS. 

Full-length  figures;  the  virgin,  in  pink  dress,  green 
cloak  and  white  head-dress,  seated  under  a  tree  in  the 
centre,  holding  out  the  Infant  Jesus  to  be  kissed  by 
Saint  John,  who  stands  on  her  left;  beyond  him  are 
Saint  Catherine  and  Saint  Barbara,  seated  on  the 
ground;  on  the  right  Saint  Jerome  is  seated  reading  a 
book,  and  behind  him  is  Saint  Joseph;  hilly  landscape 
background. 

Canvas,  71  W.  by  44>^  H. 

From  the  collection  of  J.  N.  Hughes,  Esq.,  1848. 

Exhibited  at  Burlington  House,  1877. 

From  the  collection  of  William  Graham,  Esq.,  1886. 

Exhibited  at  the  Exhibition  of  Venetian  Art,  New  Gal- 
lery, 1894-5. 

Exhibited  at  Burlington  House,  1902. 

Collection  of  Charles  Butler,  Esq.,  1911. 


1121 


No.  4 


,  TINTORETTO 
(Robusti  Jacopo) 

Born,  1512;  Died,  1594 

PORTRAIT  OF  BENVENUTO  CELLINI 

Three-quarter  figure  seated  in  a  chair,  his  hands  rest- 
ing on  the  arms,  to  the  right  is  the  statue  of  David 
and  the  famous  clock,  a  window  in  the  hacky^round 
through  which  you  see  Castle  St.  Angelo. 

Berenson  writes:  "I  am  glad  to  know  that  you  ftavc  pur 
chased  the  very  fine  portrait  by  Jacopo  Tmcoretto  of 
a  bearded  gentleman  seated  by  a  window  optam^  on 
a  view  of  the  brid^  W^^sf^pfSt.  Ai«rio  »  tom^ 
1  heartily  congratulate  you  on  such  Mm  Mnunblc 
acquisition  fol^W^i^  *^tt^tJ^^We  fiftl^itVofkt  by  TNito> 
retto  that  I  have  ever  seen.    As  a  ocMM|Kicai 
character,  as  a  vision  of  cultivated  and  iMdUcnnd 
manhood,  as  technical  handling,  whedber  m  oolor 
or  design  it  is  a  real  masterpiece  of  Itaiiaa  RMUMUCe 
portraiture.    The  name  of  the  person  twpmmtei 
I  believe,  unknown.   The  view  opeiMig  am  Sc  Aflifilo 
makes  me  wonder  whether  he  couy  mm  pmmMf  bt 
Benvenuto  Cellini." 

Canvas,  34K  W.  by  43>^  H. 


Civ. 


No.  4 


TINTORETTO 
(Robusti  Jacopo) 

Born,  1512;  Died,  1594 


PORTRAIT  OF  BENVENUTO  CELLINI. 

Three-quarter  figure  seated  in  a  chair,  his  hands  rest- 
ing on  the  arms,  to  the  right  is  the  statue  of  David 
and  the  famous  clock,  a  window  in  the  background 
through  which  you  see  Castle  St.  Angelo. 

Berenson  writes:  "I  am  glad  to  know  that  you  have  pur- 
chased the  very  fine  portrait  by  Jacopo  Tintoretto  of 
a  bearded  gentleman  seated  by  a  window  opening  on 
a  view  of  the  bridge  and  Castle  of  St.  Angelo  in  Rome. 
I  heartily  congratulate  you  on  such  an  admirable 
acquisition  for  it  is  one  of  the  finest  works  by  Tinto- 
retto that  I  have  ever  seen.  As  a  conception  of 
character,  as  a  vision  of  cultivated  and  intellectual 
manhood,  as  technical  handling,  whether  in  color 
or  design  it  is  a  real  masterpiece  of  Italian  Renaissance 
portraiture.  The  name  of  the  person  represented  is, 
I  believe,  unknown.  The  view  opening  on  St.  Angelo 
makes  me  wonder  whether  he  could  not  possibly  be 
Benvenuto  Cellini." 


B.  Berenson. 


Canvas,  3iH  W.  by  H. 


113] 


No.  5 


BACCHIACCA 
(Ubertini,  Francesco  D'Albertino) 

Born,  1494;  Died,  1557 

WOMAN  PLAYING  THE  MANDOLIN. 

Portrait  of  a  woman  with  mandolin.  Landscape 
background  of  Florence;  brilliant  and  very  attractive 
painting  by  that  master. 

Canvas,  24>^  W.  by  31  H. 

"This  painting  of  which  you  sent  me  a  photograph, 
is  a  very  fine  Bacchiacca,  of  course,  Fairfax  Murray's 
previously." 


Dear  Madame  Marchesi: 

"Your  'Woman  with  the  Mandolin,*  by  Bacchiacca, 
is  a  very  fine  and  brilliant  painting  by  that  master. 
I  admire  it  very  much  and  hope  to  see  it  on  my  visit 
to  Paris  next  year." 


B.  Berenson. 


William  Bode. 


[HI 


No.  6 


GIAMPIETRINO  OR  GIAMPEDRI 

(Fifteenth  Century) 

PORTRAIT  OF  A  PATRICIAN  YOUNG  LADY 
School  of  Milan,  active  in  the  first  decades  of  tlv 
Sixteenth  Century.    Pupil  of  Leonardo  da  Vinci  4i 
incontrovertibly  established  by  documentary  evidence 
gathered  by  Ivan  LermoliefF. 

This  Master's  works  are  often  ascribed  to  Leonardo, 
whom  in  some  of  his  Madonnas  he  equalled;  the 
Madonna  No.  15  in  the  first  room  m  the  Borghete 
Gallery  is  the  most  beautiful  Painting  imaginable 
and  as  fine  as  L^^p^^|^i|i|^^|^ted.  The  Portrait 
which  we  have  had,  the  good  forrnnc  to  acquire,  it 
acknowledgea  to  oe  the  work  oT  rne  Master  by  hu 
Excellency,  Dr.  Bode,  Mr.  Bemhard  Beren»on. 
Corado  Ricci.  The  golden  Tone  and  spiritual  facr 
are  the  most  fascinating  imaginable. 

Panel,  H  24,  W  20. 


No.  6 


GIAMPIETRINO  OR  GIAMPEDRINO 


PORTRAIT  OF  A  PATRICIAN  YOUNG  LADY. 


School  of  Milan,  active  in  the  first  decades  of  the 
Sixteenth  Century.  Pupil  of  Leonardo  da  Vinci  as 
incontrovertibly  established  by  documentary  evidence 
gathered  by  Ivan  LermoIiefF. 

This  Master's  works  are  often  ascribed  to  Leonardo, 
whom  in  some  of  his  Madonnas  he  equalled;  the 
Madonna  No.  15  in  the  first  room  in  the  Borghese 
Gallery  is  the  most  beautiful  Painting  imaginable 
and  as  fine  as  Leonardo  ever  painted.  The  Portrait 
which  we  have  had  the  good  fortune  to  acquire,  is 
acknowledged  to  be  the  work  of  the  Master  by  his 
Excellency,  Dr.  Bode,  Mr.  Bemhard  Berenson, 
Corado  Ricci.  The  golden  Tone  and  spiritual  face 
are  the  most  fascinating  imaginable. 


(Fifteenth  Century) 


Panel,  H  24,  W  20. 


[15] 


No.  7 


DOMENICO  GHIRLANDAJO 

(Fifteenth  Century) 

CASSONE  ATTRIBUTED  TO  DOMENICO 
GHIRLANDAJO. 

It  is  impossible  for  the  most  eminent  expert  to  posi- 
tively identify  the  Painters  of  these  Cassones.  The 
Nobility  of  the  Period  ordered  them  as  Trousseau 
Chests,  from  their  favorite  Artist;  the  subject  usually 
chosen  from  Deeds  of  valour  by  family  members, 
religious  Acts,  or  hereditary  History  of  the  House  of 
Nobility;  the  nearest  one  can  come  to  authentication 
is  School  and  analytical  research  of  peculiarities  of 
the  Artists.  This  Cassone  has  been  transferred  from 
Wood  to  Canvas. 

From  the  Collection  of  Sir  Thomas  Andrew  de  la  Rue. 


116] 


No.  8 


GIROLAMO  DA  SANTA  CROCE 

Born  in  the  early  Sixteenth  Century 

THE  MARTYRDOM  OF  ST.  LAWRENCE. 

The  scene  is  picturesque  and  the  gruesome  is  entirely- 
suppressed,  the  figures  are  well  drawn,  and  show  the 
direct  influence  of  Bellini,  whose  pupil  he  was;  he 
painted  in  Venice  from  1520  to  1527,  when  he  went 
to  Padua. 

Many  of  his  Paintings  have  disappeared  and  are  untrace- 
able. A  somewhat  similar  Composition  is  in  the 
Dresden  Gallery,  but  it  is  less  virile  and  lacks  solidity. 
This  Painting  comes  from  Vienna,  its  authenticity  is 
fully  established. 

Collection:  von  Zamboni,  Lanna  near  Meran. 


1171 


No.  9 


BRONZING,  ANGELO  ALLORI 
(Pupil  of  Pontormo) 

Born,  1502;  Died,  1572 
Was  influenced  by  Michaelangelo 

PORTRAIT  OF  A  YOUNG  LADY. 

In  very  rich  costume,  represents  the  niece  of  Pope 
Paul  III  (Pope,  1534-49),  Giulia  Farnese.  This  Paint- 
ing is  of  most  lavishly  rich  colouring  refinement  and 
considered  one  of  his  best  Woman  Portraits. 

Canvas,  H.  37K  W.  30X. 

From  the  Collection  of  Prince  Sciarra. 

Palazzo  Sciarra  in  Rome. 

Hkjl  C^.a^  Uj^  wC.  ^^^^  *^  ^ 


[18] 


No.  9 


BRONZING,  ANGELO  ALLORI 
(Pupil  of  Pontormo) 

Born,  1502;  Died,  1572 
Was  influenced  by  MichaeUngelo 

PORTRAIT  OF  A  YOUNG  LADY. 

In  very  rich  costume,  represents  the  niece  of  Pope 
Paul  III  (Pope,  1534-49),  Giulia  Famese.  This  Paint- 
ing is  of  most  lavishly  rich  colouring  refinement  and 
considered  one  of  his  best  Woman  Portraits. 

Canvas,  H.  37^,  W.  30K. 

From  the  CollectioO|!jtjf!l?i(i)g|^ciarra. 

Palazzo  Sciarr^^n^RSffil  '  ^'"'^""^ 


^KjlC#.>^  U-X  *Tr 


[18] 


No.  10 


TIEPOLO,  GIAMBATTISTA 

Born,  1696;  Died,  1770 

THE  INSTITUTION  OF  THE  ROSARY. 

Original  painting  for  the  ceiling  of  the  Jesuit  Church 
in  Venice. 

Of  the  various  sketches  submitted  for  this  ceiling,  there 
are  three  sections  mentioned;  this  one  is  considered 
the  most  important  in  coloring  and  freedom  of  execu- 
tion, another  of  these  sketches  is  in  the  collection  of 
the  Kaiser  Friedrich  Museum  in  Berlin.  Eduard 
Sack's  book,  on  Giambattista  and  Domenico  Tiepolo, 
gives  a  full  account  of  them. 

Canvas,  20  W.  by  38  H. 


119] 


No.  11 

TIEPOLO,  GIAMBATTISTA 

Born,  1696;  Died,  1770 

MADONNA  AND  CHILD. 

Most  extraordinary  painting  of  very  highest  quality  and 
breadth. 

Canvas,  H.  21,  W.  17}4. 


[201 


No.  12 

TIEPOLO,  GIAMBATTISTA 

Born,  1696;  Died,  1770 

STUDY  OF  AN  OLD  MAN. 

A  Picture  of  great  quality  and  colouring.  Mannfredi 
Gallery,  Venice. 

John  Heugh  Collection,  London,  1878. 

Canvas,  19H  W.  by  24  H. 

No.  13 

TIEPOLO,  GIAMBATTISTA 

Born,  1696;  Died,  1770 

OLD  MAN  READING. 
Companion  to  above. 

Canvas,  19H  W.  by  24  H. 


1211 


No.  14 


GUARDI,  FRANCESCO 

Born,  1712;  Died,  1793 

MARRIAGE  OF  THE  ADRIATIC. 

One  of  the  masterpieces  of  this  artist  representing  the 
Grand  Canal  in  holiday  attire;  the  Festa  in  full 
force  with  gondolas  of  the  Ancient  Nobility  and  masses 
of  people  bent  upon  a  holiday. 

Canvas,  54  W.  by  38>^  H. 

Collection  of  Earl  of  Carlisle. 


No.  15 

GUARDI,  FRANCESCO 

Born,  1712;  Died,  1793 

ARCHWAY  IN  VENICE. 

This  fine  example  of  the  master,  full  of  atmosphere  and 
vibrating  in  rich-brown  colouring,  is  illustrated  in  the 
"Works  of  Francesco  Guardi,"  by  George  A.  Simonson, 
page  55. 

Canvas,  15^  W.  by  20}4  H. 


[221 


No.  16 

GUARDI,  FRANCESCO 

Born,  1712;  Died,  1793 

F£TE  day  in  VENICE. 

Festival  scene  in  front  of  St.  Mark's  and  the  Doge's 
Palace. 

Canvas,  34><  W.  by  20}i  H. 

No.  17 

GUARDI,  FRANCESCO 

Born,  1712;  Died,  1792 

VENICE  WITH  CHURCH  AND  BRIDGE. 

View  of  the  Canal  with  gondolas  in  the  foreground. 

Canvas,  18  W.  by  10}4  H. 


[23] 


No.  18 

GUARDI,  FRANCESCO 

Born,  1712;  Died,  1792 


VENICE. 

View  from  the  Canal. 

Canvas,  16^  W.  by  12^  H. 


No.  19 

GUARDI,  FRANCESCO 

Born,  1712;  Died,  1792 

RUINS  ON  THE  ADRIATIC. 

A  pair.   Scenes  on  the  banks  of  the  Adriatic. 

On  board,  7  W.  by  4^  H. 


[24] 


No.  20 


PANNINI 
(Cavaliere,  Giovanni,  Paolo) 

Born,  1695;  Died,  1768 

RUINS  OF  AN  ANCIENT  TEMPLE. 

The  Scene  is  laid  in  the  Roman  Campania.  In  the 
right  foreground  is  a  magnificent  Urn  and  to  the  left 
are  the  Ruins  of  an  ancient  Temple.  The  colouring  is 
very  beautiful  and  decorative. 

Canvas,  50>^  W.  by  29  H. 


[35] 


EARLY  SPANISH 
PAINTINGS 


\ 


V 


No.  21 


EL  GRECO  DI  THEOTCX  OPULI 

Born,  1545;  Died,  1614 

CHRIST   DRIVING   THE   MONEY  CHANGERS 
FROM  THE  TEMPLE. 

A  Masterful  and  brilliant  Painting.  Dr.  August  L. 
Mayer,  member  of  the  staff  of  the  old  ^  thek  in 
Munich,  acknowledged!" Expert  of  Sp.  rt  and 

Writer  of  a  Biograph^^  of  El  Greco  jutt  pubiuhed 
lately,  gives  the  folloJ^ing  Expert  opinion  on  this 
picture: 

c 

"Das  Gemalde,  das  die  un^teH^nde  PhotograpV  ^  r  let- 
giebt,  is  ein  eigenh^d^s  Werk  des  ico 
Theotokopuli  gen  El  Orefii^.    Diese  A  ng  dcr 

Wechsler  aus  dem  TeHipff,  diirfte  ar  r  80cr 

Jahre  des  XVI  Jahrhu^d^s  von  den.  r  aus- 

gefiihrt  worden  sein  un|i  stent  dem  aus  der  ng 
Beruete  in  dem  Besitaiwvon  Mr.  Frick  in  Nv  %  .  ork 
gelangten  Exemplar  vols  Qualitat  anlangt  in  keiner 
Weise  nach."  Q 

g.  August  L.  Mayer. 

Munchen,  d  20.  Juli  1912.  & 

Canvas,  21  W.  by  17  H. 
Collection,  Macry. 


No.  21 


EL  GRECO  DI  THEOTOCOPULI 

Born,  1545;  Died,  1614 

CHRIST    DRIVING   THE   MONEY  CHANGERS 
FROM  THE  TkMPLE. 

A  Masterful  and  brilliant  Painting.  Dr.  August  L. 
Mayer,  member  of  the  staff  of  the  old  Pinakothek  in 
Munich,  acknowledged  Expert  of  Spanish  Art  and 
Writer  of  a  Biography  of  El  Greco  just  published 
lately,  gives  the  following  Expert  opinion  on  this 
picture: 

"Das  Gemalde,  das  die  umstehende  Photographie  wieder- 
giebt,  is  ein  eigenhandiges  Werk  des  Domenico 
Theotokopuli  gen  El  Greco.  Diese  Ausweisung  der 
Wechsler  aus  dem  Tempel,  diirfte  anfangs  der  80er 
Jahre  des  XVI  Jahrhunderts  von  dem  Kiinstler  aus- 
gefiihrt  worden  sein  und  steht  dem  aus  der  Sammlung 
Beruete  in  dem  Besitz  von  Mr.  Frick  in  New  York 
gelangten  Exemplar  was  Qualitat  anlangt  in  keiner 
Weise  nach." 

August  L.  Mayer. 

Munchen,  d  20.  Juli  1912. 


Canvas,  21  W.  by  17  H. 
Collection,  Macry. 


(29,     b^|^/u**iCi  (r 


No.  22 


EL  GRECO  DI  THEOTOCOPOULI 

Born,  1545;  Died,  1614 

LA  LAGRIMAS  DE  SAN  PEDRO. 
St.  Peter  with  keys  in  a  landscape. 

Signed  and-dated.> 

"With  the  Admiration  for  the  Art  of  the  impressionists 
there  opened  a  new  view  to  the  comprehension  of 
El  Greco.  What  the  influence  of  Greco  was  on  his 
time  is  difficult  to  measure  today,  but  his  admirers 
as  well  as  his  detractors  do  not  deny  that  El  Greco 
was  the  most  powerful  master  for  the  representation 
of  religious  visions." 

This  portrait  belongs  to  his  best  period. 

Canvas,  29>^  W.  by  36>^  H. 

Collection  of  Joan  Stchoukine. 

Collection  of  Ignacio  Zuloaga. 

Cossio.    El  Greco.   6oi.    No.  316. 


[30] 


1 


4 


No.  23 

GOYA,|FRANCISCO  DE 

Born,  1746;  Died,  1828 

PORTRAIT  OF  THE  FAMOUS  BULL  FIGHTER, 
ROMERO. 

Goya's  intimate  friend  and  boon  companion. 
Canvas,  17^  W.  by  23  H. 
Collection  of  Goya. 
Collection  of  Duke  Ossuna. 
Collection  of  Fafti)^IfclMM^  .AYOO 
Collection  of  Marquis  de  Villa toya. 


[311 


No.  23 

GOYA,  I^RANCISCO  DE 

Born,  1746;  Died,  1828 

PORTRAIT  OF  THE  FAMOUS  BULL  FIGHTER, 
ROMERO. 

Goya's  intimate  friend  and  boon  companion. 

Canvas,  17>^  W.  by  23  H. 

Collection  of  Goya. 

Collection  of  Duke  Ossuna. 

Collection  of  Family  Lafitte. 

Collection  of  Marquis  de  Villatoya. 


131] 


No.  24 

GOYA,  FRANCISCO  DE 

Born,  1746;  Died,  1828 

CAPPRICCIO. 

Two  maidens  walking,  their  heads  covered  with 
shawls  hiding  their  faces;  to  the  left  is  a  figure  of  a 
man  watching  their  movement  which  is  the  portrait 
of  Goya. 

Canvas,  17>^  W.  by  23  H. 

This  painting  is  etched  by  Goya,  published  under  the 
title,  "Poor  Little  Things."  (See  Calvert's  book  on 
Goya,  plate  332.) 

Collection  of  Goya. 

Collection  of  Duke  Ossuna. 

Collection  of  Family  Lafitte. 

Collection  of  Marquis  de  Villatoya. 


[32] 


No.  25 

GOYA,  FRANCISCO  DE 

Born)  1746;  Died,  1828 


A  BULL-FIGHT,  IN  AN  OPEN  STREET, 
FENCED  UP. 

Water  Color  on  paper  36  W.  by  23  H. 

Collection,  Count  Henri  Rochefort. 


[  331 


\ 


EARLY  GERMAN, 
FLEMISH  AND  DUTCH 
PAINTINGS 


No.  26 


HENRI  MET  DE  BLES  (Civetta) 
(Hendrik  Bles) 

Born,  1480  (?);  Died,  15S0 

ADORATION  OF  THE  KINGS. 

Triple  altar-piece,  curved  above.  In  the  centre  pic- 
ture Mary  sits  on  the  left  with  the  Child;  behind  her 
stands  Joseph.  On  the  right  the  oldest  king  with 
his  followers.  In  the  background,  architecture  and  an 
outlook  into  a  wide  landscape  with  rich  figures.  On 
the  left  wing  the  Moorish  king  and  his  followers. 
Background,  a  landscape  with  water  and  rich  figures. 
On  the  right  wing  the  third  king  with  his  followers. 
Background,  a  mountainous  landscape  with  rich 
figures.  On  the  sword  scabbard  of  one  of  the  com- 
panions of  the  kings  in  the  centre  picture,  the  letters 
M.  A.  S.  O.  can  be  read. 

Panel,  centre,  22  W.  by  34>^  H. 

Wings,  9y2  W.  by  34>^  H. 

Exhibited,  Berlin,  1883. 

Exhibited,  Royal  Academy,  1908.        )  U^'  &i^v^ 
Considered  de  Bles's  masterpiece. 


1371 


No.  27 

ISENBRANT,  ADRIAEN 

Born,  (?);  Died,  1551 

ST.  HIERONYMUS  IN  A  LANDSCAPE. 

This  painting  is  typical  for  the  warm,  harmonious  color 
of  the  landscape  and  transparency  of  the  glowing 
distance. 

Panel,  20^  W.  by  27  H. 


[38] 


No.  28 


MABUSE,  JAN  GOSSART 
(Called  Jan  Mabuse) 

Born,  1472;  Died,  1533 

ELEONORE  D'AUTRICHE. 

She  was  the  sister  of  Charles  V  and  daughter  of  Philip 
Le  Beau  and  Jeanne  la  Folle,  married,  in  1519,  King 
Emanuel  of  Portugal,  who  died  in  December,  1521, 
married  afterwards,  March  5,  1530,  King  Francis  I 
of  France,  who  died  1547. 

Dr.  Wm.  Bode  indorsed  the  painting  as  follows: 
"This  beautiful  portrait  of  the  sister  of  Charles  V  looks 
to  me  as  original  by  Jan  Mabuse  of  which  there  are  2 
or  3  (smaller)  replicas  known."  Also  the  following 
documentary  evidence  has  been  discovered  which 
shows  that  Mabuse  received  on  the  3rd  of  April,  1516, 
forty  Livres  Flemish  for  two  portraits. 
"Tableaux  de  la  pourtraicture  au  vif  de  madame 
"Leonor  que  le  roy  (Karl  V)  lui  avait  bailie,  et  pour 
"autres  menues  parties  de  painctures  qu'il  avait  faictes 
"a  son  plaisir,  dont  il  ne  veut  icy  autre  declaration 
"estre  faicte." 

Panel,  15  W.  by  18  H. 


[39] 


No.  29 

MABUSE,  JAN  GOSSART 
(Called  Jan  Mabuse) 

Born,  1472;  Died,  1533 

MOTHER  AND  CHILD  IN  INTERIOR. 
Very  rich  brown  warm  colouring. 

Panel,  10  W.  by  ISH  H. 

Signed:  Joannes  Malbodius  Pingebat,  1532. 
Indorsed  by  Dr.  Max  I.  Friedlaender. 


[40] 


No.  30 


UNKNOWN  FLEMISH 


Fifteenth  Century 


ADORATION  OF  THE  MAGI. 


The  scene  passes  before  a  Portal  of  Ruins.  To  the 
left,  the  Virgin  seated  in  a  blue  costume  with  white 
cloth  cover.  The  scene  is  very  impressive  and  the 
Oriental  character  of  the  whole  is  most  effectively 
utilized  to  picture  religious  sentiment.  The  attendance 
of  the  kings  as  well  as  the  distant  mountains  are 
characteristic  of  the  Masters  of  the  Bruges  school. 
Further  investigation  in  Berlin  and  Bruges  by  Dr. 
Max  I.  Friedlaender  most  positively  gives  the  painting 
to  an  important  artist  close  to  Quentin  Massys;  it  is 
of  very  fine  quality  and  coloring  and  greatly  admired. 

Panel,  39>^  W.  by  49M  H. 

Exhibited,  1902,  in  Bruges  at  the  Exhibition  of  Primi- 
tive Flemish  Art. 

Collection  of  Dr.  Van  den  Corput,  Brussels,  formerly 
Director  of  the  Museum  in  Ghent. 


[41] 


No.  31 


BENSON,  AMBROSIUS 

(Painter  of  Brugge  1519) 
Born,  (?);  Died,  1550 

MADONNA  AND  CHILD  CROWNED  BY  ANGELS. 
Spanish  vase  on  a  table  with  other  still  life,  Benson 
bought  the  freedom  of  Brugge  in  1519,  was  a  great 
Master  of  the  Lucas  Guild,  and  in  the  Chapter  notice 
it  was  announced  that  his  Sponsor  was  Francesco  da 
Verona  as  Guardian  and  nearest  relative  which  es- 
tablished most  positively  Benson's  place  of  birth  to  be 
The  Lombardy. 
His  Paintings  are  very  rare. 

"Diese   aus    Spanien    stammende   Madonna   ist  ein 
Werk  des  Briigger  Meisters,  Ambrosius  Benson. 

Max  L  Friedlaender. 

Berlin,  d  8ten  Juli,  1912 
Wood  Panel,  WA  W,  38><  H. 
Exhibited  by  request  in  the  Prado  1904. 


[421 


No.  32 


PETER  PAUL  RUBENS 

Born,  1557;  Died,  1640 

THE  HOLY  FAMILY. 

This  magnificent  Composition  contains  six  life-size 
figures.  The  Virgin  seated  and  offering  the  breast  to 
the  Child,  who  is  lying  in  her  lap,  occupies  the  centre 
of  the  picture;  a  Cherub  stands  at  her  feet  looking  up 
into  her  face.  On  the  left  is  St.  Catherine  holding  the 
little  St.  John,  and  on  the  right  St.  Joseph  bending 
over  the  group.  The  background  is  formed  of  a  rocky 
landscape. 

Owing  to  its  remarkable  state  of  preservation,  this 
masterpiece  exhibits  to  perfection  the  marvelous  gifts 
of  the  master:  the  truthfulness  of  the  outline  the 
savant  modelling  of  the  expressive  faces  and  of  the 
limbs,  the  grace  of  the  draperies,  the  depth  of  colouring 
and  the  limpidity  of  the  chiaroscuro,  the  realization 
of  which  were  manifestly  due  to  the  innate  faculties 
of  Rubens,  the  greatest  of  Flemish  painters. 

Dr.  Waagen  in  the  "Treasures  of  Art  in  Great 
Britain,"  Vol.  H  page  68,  on  the  subject  of  the  Holy 
Family  by  Rubens,  in  the  Stafford  House  Collection, 
makes  the  following  remark: 

"The  Virgin  with  the  Child,  seated  in  a  landscape," 
surrounded  by  S.S.  John,  Joseph,  Elizabeth,  and 
Angels;  the  expression  of  "maternal  affection  in  the 
Virgin  and  the  joyousness  in  the  Child  is  very  pleasing." 
Figures  life-size,  in  masterly  impaste  and  in  a  clear 
golden  "glowing  tone." 

[43] 


"Die  grosse  Heilige  Familie  von  Rubens  erinnere  ich 
mich  aus  der  Sammlung  des  Duke  of  Sutherland. 
Sie  ist  ein  characteristisches  mit  grosser  Bravour 
gemaltes  wirkungsvolles  Bild  aus  Rubens  spaterer 
und  bester  Zeit,  etwa  um  1630  oder  wenig  spater. 
Dazu  ist  das  Bild  von  ganz  vorziiglicher  Erhaltung, 
soweit  ich  es  in  der  Erinnerung  habe." 

W.  Bode. 

"The  undersigned  has  at  different  times  carefully  ex- 
amined the  Picture  representing  the  *Holy  Family 
with  Angels'  formerly  belonging  to  the  Duke  of 
Sutherland  of  which  the  above  Photograph  has  been 
taken. 

He  considers  it  to  be  an  undoubted  genuine  work  by 
P.  P.  Rubens." 

Dr.  Hofstede  de  Groot. 

The  Hague,  Oct.  19th,  1910. 

From  the  Collection  of  the  Duke  of  Sutherland. 
Mentioned  in  Theodore  Lejeune's  "Guide  del'  ama- 
teur de  Tableaux,"  Vol.  II,  page  332. 

Exhibited  at  the  Royal  Academy  in  1875. 

Illustrated  in  "Rubens"  by  Edward  Dillon,  M.  A. 

Canvas,  63^x59^. 

(For  Illustration  see  title  page.) 


No.  33 


VAN  DYCK,  SIR  ANTHONY 

Born,  1599;  Died,  1641 

PORTRAIT  OF  NICHOLAS  TRIEST. 

(Baron  d'Auweghem) 
The  Painting  is  dated  next  to  the  Coat  of  Arms  1620; 
it  was  painted  a  short  time  before  Van  Dyck  left 
Rubens  and  his  country  for  England.  In  manner, 
luminosity  of  flesh,  aristocratic  characteristics  it  shows 
some  influence  of  Rubens,  but  it  does  not  have  any 
longer  the  coarseness  and  pastose  mannerisms,  or 
carelessness  of  drawing. 

The  expression  shows  refined  reserve,  the  elegant  haughty 
spirit  of  the  man,  his  aristocratic  simple  features  are 
illuminate(HB^£]v«^Vfftol^i^Ml^ng  sky,  the  whole 

is  ?l§fi^««,AHP>?«W^^e4ii,tWrl!}^  Portrait 
is  sincere,  true  to  Life  and  emphasized  Vitality;  while 
not  in  the  least  resembling  the  manner,  Titian  becomes 
his  Prototype  in  this  most  marvelous  work  of  Aft, 

"Das  mannliche  Portrait  von  Anton  Van  Dyck  ist  cin 
alter  Freund  von  mir,  Ich  habe  dieses  schonc  Bild 
von  etwa  16  oder  18  Jahren  in  London  fiir  unscrc 
eigene  Gallerie  unterhandelt  aber  "for  want  of  money/* 
verzichten  miissen.  Es  ist  ein  besonders  sympathischet 
und  sorgfaltiges  Bild  seiner  friiheren  2^it  die  ja  sciae 
Beste  ist." 

W.  Bode 

Langenstein,  d.  10  Juli,  1912. 
Canvas,  39  W.  by  50  H. 
Collection  of  Lord  Carlisle. 


No.  33 


VAN  DYCK,  SIR  ANTHONY 

Born,  1599;  Died,  1641 

PORTRAIT  OF  NICHOLAS  TRIEST. 

(Baron  d'Auweghem) 
The  Painting  is  dated  next  to  the  Coat  of  Arms  1620; 
it  was  painted  a  short  time  before  Van  Dyck  left 
Rubens  and  his  country  for  England.  In  manner, 
luminosity  of  flesh,  aristocratic  characteristics  it  shows 
some  influence  of  Rubens,  but  it  does  not  have  any 
longer  the  coarseness  and  pastose  mannerisms,  or 
carelessness  of  drawing. 

The  expression  shows  refined  reserve,  the  elegant  haughty 
spirit  of  the  man,  his  aristocratic  simple  features  are 
illuminated  by  a  very  eff'ective  evening  sky,  the  whole 
is  elegance  personified;  everything  in  this  Portrait 
is  sincere,  true  to  Life  and  emphasized  Vitality;  while 
not  in  the  least  resembling  the  manner,  Titian  becomes 
his  Prototype  in  this  most  marvelous  work  of  Art. 

"Das  mannliche  Portrait  von  Anton  Van  Dyck  ist  ein 
alter  Freund  von  mir,  Ich  habe  dieses  schone  Bild 
von  etwa  16  oder  18  Jahren  in  London  fiir  unsere 
eigene  Gallerie  unterhandelt  aber  "for  want  of  money," 
verzichten  miissen.  Es  ist  ein  besonders  sympathisches 
und  sorgfaltiges  Bild  seiner  friiheren  Zeit  die  ja  seine 
Beste  ist." 


Langenstein,  d.  10  Juli,  1912. 
Canvas,  39  W.  by  50  H. 
Collection  of  Lord  Carlisle. 


W.  Bode. 


[45] 


EARLY  DUTCH  PAINTERS 


No.  34 

ANTONIO  MORO 

Born,  1512;  Died,  1582 

PRINCESS  OF  THE  HOUSE  OF  BRAGANZA. 

A  fine  portrait  of  a  Lady  of  the  House  of  Braganza; 
Moro  was  the  Court  painter  to  Queen  Mary  of  England 
and  to  the  Court  of  Spain,  where  he  stayed  many  years; 
his  most  superb  portraits  are  in  the  Prado. 

Panel,  23^  W.  by  34^  H. 

Collection  of  Count  de  Narvas,  Madrid,  Spain. 


[491 


No.  35 


JACOB  VAN  RUYSDAEL 

Born,  1630;  Died,  1682 

THE  CHARCOAL  BURNERS. 

Landscape,  low  waterfall  in  the  foreground;  under  the 
trees  in  the  distance  you  see  the  smoke  rising  in  the 
air  from  the  fire  of  the  charcoal  burners;  heavy  cloudy 
sky,  a  most  dramatic  and  superbly  illuminated 
painting. 

The  undersigned  has  carefully  examined  a  landscape  on 
canvas,  23^  inches  high,  TI]/2  inches  wide,  representing 
a  cascade,  which  fills  nearly  the  whole  foreground. 
On  the  other  bank  is  a  wood  with  men  burning  coals 
near  a  large  fire.  The  undersigned  has  already 
described  this  work  as  an  authentic,  characteristic 
work  of  ]acoh  Ruisdael  under  No.  413  of  the  Catalogue 
raisonne  of  this  master's  works  and  will  give  a  more 
detailed  description  of  it  in  the  Supplement  of  this 
Catalogue.  1912. 

Dr.  Hofstede  de  Groot. 

Canvas,  27>^  W.  by  23^  H. 

Described  by  Dr.  Hofstede  de  Groot  in  Vol.  IV  of  his 
catalogue  of  Dutch  painters. 

From  the  Knighton  Collection. 

Collection  of  Sir  George  Donaldson. 


[50] 


No.  36 

RUYSDAEL,  SOLOMON 

Born,  1600;  Died,  1670 

ON  THE  RIVER  SCHELDT. 

Luminous  rich  landscape  with  fine  cloud  effects.  Four 
men  in  a  boat  hunting  and  fishing  and  other  boats  and 
fishermen  in  the  distance;  signed  on  the  boat  S.  R., 
164L 

The  undersigned  has  carefully  examined  a  river  landscape 
painted  on  panel  21^  inches  high,  30^  inches  wide, 
in  which  are  seen  several  ships  sailing.  On  the  fore- 
ground three  fishing  boats;  some  fishers  are  engaged 
in  hauling  in  their  nets;  in  the  boat  on  the  left  of  the 
foreground  is  a  man  loading  his  gun.  On  the  bank 
is  a  group  of  trees  and  in  the  centre  of  the  middle 
distance  some  houses  and  a  church.  The  undersigned 
considers  this  picture  to  be  a  characteristic  and 
authentic  work  of  Salomon  van  Ruysdael,  which  is 
authentically  signed  with  monogram  and  dated  1641, 
on  the  first  boat.  1912. 

Dr.  Hofstede  de  Groot. 

Panel,  30^  W.  by  21^  H. 

From  the  collection  of  Mrs.  Emily  Jalland,  Holdemess 
Hall,  Hull,  England. 


[51] 


No.  37 


VAN  OSTADE,  ADRIAEN 

Born,  1610;  Died,  1685 

INTERIOR  OF  AN  INN. 

In  the  centre  is  a  window  through  which  the  warm 
sunlight  streams  into  the  room;  to  the  right  are  four 
peasants,  one  is  dispensing  wine  from  a  jug  to  the 
others  with  pipes  in  their  hand;  back  in  the  corner 
an  old  man  is  sitting,  lighting  his  pipe;  to  the  left 
side  there  is  a  stairway  on  which  a  man  is  descending. 
In  the  foreground  a  cat  is  lying  on  the  floor. 

The  undersigned  has  carefully  examined  a  picture  painted 
on  panel,  ISJ4  inches  high,  23  inches  wide,  consisting 
of  an  interior  with  six  figures,  one  of  which  is  descend- 
ing the  steps  to  the  left  of  the  foreground,  four  are 
sitting  or  standing  near  a  window,  smoking  or  drink- 
ing; the  sixth  one  in  the  background,  is  lighting  his 
pipe.  A  cat  is  seen  in  the  foreground.  The  under- 
signed considers  this  picture  to  be  a  characteristic  and 
authentic,  also  authentically  signed  and  dated  work  of 
Adriaen  van  Ostade,  which  will  be  described  as  such  in 
the  Supplement  of  his  Catalogue  raisonne  of  A.  v. 
Ostade's  works.  1912. 

Dr.  Hofstede  de  Groot. 

Panel,  23  W.  by  18><  H. 
Signed  and  dated. 
Kappel  Collection,  Berlin. 


[52] 


No.  38 


CODDE,  PIETER 

Born,  1600;  Died,  1678 

THE  MARRIAGE. 

This  master  has  been  very  much  neglected  by  the 
collecting  public  until  the  beginning  of  the  last  cen- 
tury, his  great  importance  was  proven,  that  he  received 
in  1637  the  order  to  finish  the  painting  of  the  great 
Amsterdam  Guild  of  Archers  left  unfinished  by  Frans 
Hals.  He  painted  genre  paintings  with  cool  grey 
tones,  and  displayed  excellent  taste  for  costume 
painting  and  still  life  in  his  pictures.  Dr.  William 
Bode  considers  this  the  most  important  example  of 
this  master. 

The  undersigned  has  carefully  examined  a  picture, 
painted  on  panel,  23  inches  high,  37  inches  wide, 
representing  an  interior  with  a  merry  compan)'^,  con- 
sisting of  18  figures.  In  the  middle  of  the  foreground 
a  young  man  is  kneeling  and  drinking  from  a  gilt 
silver  goblet,  the  cover  of  which  is  held  by  a  lady  in 
a  silk  costume,  who  gives  her  other  hand  to  a  cavalier 
in  black,  standing  beside  her.  Six  people  are  looking 
at  this  scene  and  three  couples  (two  at  the  right  and 
one  at  the  left)  are  in  conversation.  To  the  left  are 
two  pages  engaged  in  preparing  and  cooling  drinks. 
A  still  life  of  musical  instruments  is  arranged  t6  the 
left  near  a  buffet  with  glasses  and  other  objects.  The 
undersigned  considers  this  picture  to  be  an  authentic 
and  authentically  signed  and  dated  1632  works  of 

[631 


Pieter  Codde  and  as  one  of  his  most  important 
positions  and  masterpieces,  1912. 

Dr.  Hofstede  de  Groot 

Panel,  36  W.  by  23  H. 

Collection  of  George,  Duke  of  Leuchtenberg. 


3 


J 


No.  39 


HALS,  FRANS 

Born,  1580;  Died,  1666 

LAUGHING  BOY  WITH  WHISTLE. 

Most  extraordinary  child's  picture,  exhibited  at  the 
Loan  Exhibition  of  Paintings  by  Frans  Hals. 

The  undersigned  has  carefully  examined  a  picture  painted 
on  a  diamond-shape  panel  (11^  x  inches;  and 
16  inches  in  diameter),  representing  a  boy  laughing, 
with  brown  disheveled  hair,  red  cheeks,  open  mouth 
showing  the  teeth,  dark  greenish  jacket;  a  whistle  in 
his  right  hand.  The  undersigned  has  described  this 
picture  as  No.  31A  of  his  Catalogue  raisonne  of  Frans 
Hals*  works 2^i](dHc<gV!¥lff'!  ^  characteristic 

and  authgnjj^vyo^  o^this^m^^^^^  1912. 

Dr.  Hofstede  de  Groot. 

Collection,  Jules  Porges,  Paris. 

Panel,  square,  11>^  inches. 


IMl 


No.  39 


HALS,  FRANS 

Born,  1580;  Died,  1666 

LAUGHING  BOY  WITH  WHISTLE. 

Most  extraordinary  child's  picture,  exhibited  at  the 
Loan  Exhibition  of  Paintings  by  Frans  Hals. 

The  undersigned  has  carefully  examined  a  picture  painted 
on  a  diamond-shape  panel  x  11>^  inches;  and 

16  inches  in  diameter),  representing  a  boy  laughing, 
with  brown  disheveled  hair,  red  cheeks,  open  mouth 
showing  the  teeth,  dark  greenish  jacket;  a  whistle  in 
his  right  hand.  The  undersigned  has  described  this 
picture  as  No.  3 1 A  of  his  Catalogue  raisonne  of  Frans 
Hals*  works  and  considers  it  to  be  a  characteristic 
and  authentic  work  of  this  master.  1912. 

Dr.  Hofstede  de  Groot. 

Collection,  Jules  Forges,  Paris. 

Panel,  square,  1X^2  inches. 


[65] 


No.  40 


DOU,  GERARD 

Born,  1613;  Died,  1675 

PORTRAIT  OF  AN  OLD  WOMAN  IN  FURS. 

Gerard  Dou  was  a  very  famous  Genre  and  Portrait 
Painter. 

"Der  Unterzeichnete  hat  genau  gepriift  ein  Oelgemalde 
auf  Holz,  H.  0.16  x  13.5  cent.,  das  Brustbild  einer  alten 
nach  rechts  niederblickenden  Frau  darstellend;  sie 
ist  mit  einem  grossen  Pelzmantel  iiber  einem  weissen 
Halstuch  und  schwarzem  Untergewand  gekleidet  und 
tragt  einen  grossen  schwarzen  Hut  iiber  einem  dun- 
kelvioletten  Kopftuch.  Der  Unterzeichnete  halt  dies 
Bild  fiir  ein  echtes  und  characteristisches  Werk  des 
Gerard  Dou" 

Hofstede  de  Greet. 

Panel,  5^  W.  by  6KH. 
Collection:  Hare,  Paris. 


156] 


No.  41 


DE  KEYSER,  THOMAS 

Born,  1597;  Died,  1667 

PORTRAIT  OF  A  MAN. 
Small  half  figure. 

Exhibited  at  a  Loan  Exhibition  at  the  Mauritzhaus, 
Hague. 

Dr.  Hofstede  de  Groot  says:  "Der  Unterzeichnete  hat 
genau  gepriift  ein  Maennerportrait  auf  Holz  0.34.5 
X  26  cent.,  Kniestiick  in  viertel  Lebensgrosse,  in  Vor- 
deransicht,  in  grossem  schwarzem  Schlapphut,  dunkel- 
violetten  Mantel,  der  nur  die  behandschuhte  linke 
Hand  sichtbar  lasst.  Mit  braunen  Locken  und 
Schnurbart.  Der  Unterzeichnete  halt  dies  Bild  fiir 
ein  echtes  und  characteristisches  Bild  des  Thomas 
de  Keyset r 

Panel,  10>^  W.  by  13>^  H. 


[57] 


No.  42 


WOUVERMAN,  PHILIP 
(Haarlem) 

Born,  1619;  Died,  1668 

LANDSCAPE. 

Small,  but  exquisite  quality. 

The  undersigned  has  carefully  examined  a  picture  repre- 
senting a  landscape  painted  on  panel,  10  inches  high, 
Sj/2  inches  wide.  The  sea  is  seen  on  the  left,  but  the 
greater  part  of  the  picture  is  filled  by  a  hill,  with  a 
winding  roadway  leading  to  the  top  of  it;  on  both 
sides  are  some  trees.  The  figures  consist  of  three 
groups:  one  man  sitting  by  the  roadside  at  the  foot 
of  the  hill,  two  men  descending  the  hill  and  cavalier 
in  red  costume  on  a  white  horse,  at  the  top  of  the  hill, 
accosted  by  a  beggar.  The  undersigned  considers 
this  picture  to  be  an  authentically  signed  and  authentic 
work  by  Philip  Wouverman,  which  is  already  men- 
tioned by  him  in  his  Catalogue  raisonne  of  this  master's 
works,  but  which  will  be  more  minutely  described  in 
the  Supplement.  1912. 

Dr.  Hofstede  de  Groot. 

Canvas,  8^  W.  by  H. 

Collection  Madame  Montez  in  Utrecht. 

Engraved. 


[58] 


No.  43 

TER  BORCH,  GERARD  (Terburg) 

Born,  1617;  Died,  1681 

A  MUSICAL  PARTY. 

Most  wonderful  lighted  Interior  with  a  party  of  two 
Ladies  and  a  Gentleman. 

His  Excellency  Dr.  Bode  says:  "The  Painting  of  the 
'Concert'  by  Gerard  Terborch  gave  me  special  joy. 
You  know  the  picture  of  the  Cello  Player  in  our  Gal- 
lery, which  I  have  presented  myself  to  our  Museum 
20  years  ago.  Your  Painting  shows  the  same  Player; 
but  your  Painting  is  a  much  larger,  more  superior  and 
complete  Composition.  Terborch  usually  repeated 
himsefE<S,c§Q»Q*,iceEg^R4?  there 
exists  no  replica;  K  MAgsltBiitf;e  you  on  this  most 
beautiful  acquisition.'*  W.  Bode. 

The  undersigned  has  carefully  examined  a  Painting 
painted  on  Canvas  34  x  27  inches  representing  a 
Musical  Party  of  two  Ladies  and  a  Gentleman;  the 
latter  playing  the  Piano  in  the  background  to  the  left; 
one  Lady  in  front  view  singing  or  reading,  another 
Lady  playing  or  tuning  the  Cello;  this  Lady  turns 
her  back  to  the  Spectator  and  wears  a  fur-trimmed  red 
Bodice  and  white  silk  Petticoat.  To  the  right  is  a 
table  with  Books,  a  Lute,  etc.  He  considers  this  picture 
to  be  an  authentic  Work  by  Gerard  ter  Borch  and 
has  described  it  as  such  in  his  forthcoming  Catalogue 
of  the  Works  of  this  Master.    Hofstede  de  Groot. 

Heerengracht  5'S  Gravenhage  Nov.,  191L 

(fil 


No.  43 

TER  BORCH,  GERARD  (Terburg) 

Born,  1617;  Died,  1681 

A  MUSICAL  PARTY. 

Most  wonderful  lighted  Interior  with  a  party  of  two 
Ladies  and  a  Gentleman. 

His  Excellency  Dr.  Bode  says:  "The  Painting  of  the 
'Concert*  by  Gerard  Terborch  gave  me  special  joy. 
You  know  the  picture  of  the  Cello  Player  in  our  Gal- 
lery, which  I  have  presented  myself  to  our  Museum 
20  years  ago.  Your  Painting  shows  the  same  Player; 
but  your  Painting  is  a  much  larger,  more  superior  and 
complete  Composition.  Terborch  usually  repeated 
himself  once  or  twice,  but  of  your  picture  there 
exists  no  replica;  I  congratulate  you  on  this  most 
beautiful  acquisition."  W.  Bode. 

The  undersigned  has  carefully  examined  a  Painting 
painted  on  Canvas  34  x  27  inches  representing  a 
Musical  Party  of  two  Ladies  and  a  Gentleman;  the 
latter  playing  the  Piano  in  the  background  to  the  left; 
one  Lady  in  front  view  singing  or  reading,  another 
Lady  playing  or  tuning  the  Cello;  this  Lady  turns 
her  back  to  the  Spectator  and  wears  a  fur-trimmed  red 
Bodice  and  white  silk  Petticoat.  To  the  right  is  a 
table  with  Books,  a  Lute,  etc.  He  considers  this  picture 
to  be  an  authentic  Work  by  Gerard  ter  Borch  and 
has  described  it  as  such  in  his  forthcoming  Catalogue 
of  the  Works  of  this  Master.    Hofstede  de  Groot. 

Heerengracht  5*S  Gravenhage  Nov.,  191L 

[69] 


Ganz  besondere  Freude  macht  mir  die  Photographic 
des  Konzerts  von  Gerard  ter  Borch.  Sie  kennen  ja 
das  Bild  der  Schellospielerin  unserer  Gallerie,  das  ich 
selbst  vor  20  Jahren  unserer  Sammlung  geschenkt 
habe.  Ihr  Bild  ist  ganz  ahnhch,  die  Schellospielerin 
ist  fast  genau  so  darauf,  aber  Ihr  Bild  ist  eine  grossere 
und  viel  besser  abgeschlossene  Komposition.  Wah- 
rend  sonst  ter  Borchs  Kompositionen  meist  ein  oder 
zweimal  wiederholt  sind,  kenne  ich  die  Ihrige  sonst 
gar  nicht!  '  Ich  gratuliere  zu  der  schonen  Erwerbung. 

W.  Bode. 

Canvas,  27  W.  by  34>^  H. 


[60] 


No.  44 


RING  (LUDGER  THE  ELDER),  TOM 

Born,  1496;  Died,  1547 

PORTRAIT  OF  A  YOUNG  MAN. 

Bust  Portrait  of  a  beardless  young  man  looking  to 
the  right,  dressed  in  red  with  a  dark  Cloak.  In  the 
right  hand  he  has  a  violet  Pink,  on  the  left  side  only 
the  fingers  are  visible;  Background  green,  on  the  top 
a  Crest. 

This  Master's  Works  are  exceedingly  rare,  and  the  authen- 
tication to  be  trusted  can  be  accepted  only  by  fore- 
most Experts  in  German  Art. 

Dieses  Portrait  scheint  mir  eine  Arbeit  des  um  1530  in 
Westfalen  tatigen  Lutger  tom  Ring  zu  sein. 

Max  I.  Friedlaender. 

Berlin,  d.  9  Juli,  1912. 
Panel,  11  W.  WA  H. 


[ei] 


No.  45 

NETSCHER,  CASPAR 

Born,  1639;  Died,  1684 

A  WARRIOR  IN  ARMOUR. 

A  }i  Figure,  looking  to  the  right;  the  blue-eyed, 
cleanly  shaven  Warrior  wears  a  white  lace  Cravat 
and  a  dark  Wig  over  dark  blue  steel  Armour. 

Signed  on  the  Column  to  the  right,  C.  Netscher. 

Canvas,  15^  W.  19  H. 

Weber  Sale,  No.  325. 


[62  ] 


No.  46 

NETSCHER,  CASPAR 

Bom,  1639;  Died,  1684 

PORTRAIT  OF  A  LADY. 

Painted  during  his  stay  in  France  at  Bordeaux  where 
he  was  married  in  1659. 

A  lady  of  the  Court  of  Louis  XIV,  seated  in  a  Garden,  she 
wears  a  rich  deep  blue  dress  decorated  with  pearls  and 
beautiful  Necklace,  resting  her  right  arm  on  a  Pedestal 
with  a  rich  golden  Cloak  hanging  loosely  over  her 
shoulder.  A  most  decorative  charming  little  Portrait 
with  a  rich  Landscape  background. 

Signed  and  dated  1683. 

Canvas,  ISH  W.  by  19  H. 

Collection:    Baron  d*Goldschmidt-Rothschild. 


1631 


No.  47 
VAN  GOYEN,  JAN 

Born,  1596;  Died,  1660 

CASTLE  AND  RUINS  ON  THE  RHINE. 

Landscape  and  ruins,  with  the  golden  tones  of  Van 
Goyen.    Most  atmospheric  cloud  and  sky  effect. 

The  undersigned  has  carefully  examined  a  landscape 
painted  on  canvas,  30^  inches  high,  43  inches  wide, 
consisting  of  the  bank  of  a  river  with  large  buildings 
on  the  right  hand  side.  Those  of  the  foreground  are 
ruined,  those  of  the  background  represent  a  large 
castle  with  towers.  Two  boats  with  respectively  four 
and  two  people  are  on  the  water;  one  of  the  boats  is 
approaching  the  landing  steps,  from  which  a  man 
with  a  jug  is  coming  down.  To  the  left  is  a  man 
looking  at  a  fish  box.  Cloudy  sky.  The  undersigned 
considers  this  picture  to  be  a  genuine,  characteristic 
and  important  work  of  Jan  van  Goyen,  authentically 
signed  and  dated  1650,  to  the  right,  which  will  be 
described  as  such  in  his  forthcoming  Catalogue 
raisonne  of  Van  Goyen's  works.  1912. 

Dr.  Hofstede  de  Groot. 

Canvas,  43  W.  by  38^  H. 
Signed  and  dated  1650. 


[641 


No.  48 


VAN  DER  NEER,  AERT 

Born,  1603;  Died,  1677 

MOONLIGHT  LANDSCAPE. 

Most  superb  Landscape  of  the  very  greatest  impor- 
tance; the  light  in  this  Picture  has  never  been  excelled 
by  any  Artist — its  quality  has  been  commented  upon 
and  the  Painting  certified  to  by  Dr.  Bode,  Dr.  Bredius, 
and  Dr.  Hofstede  de  Groot. 


The  Painting  is  signed. 
Canvas,         W.  by  2i}4  H. 
Collection:  H.  C.  du  Bois,  The  Hague. 


[66] 


No.  49 


VAN  DER  NEER,  AERT 

Born,  1603;  Died,  1677 

LANDSCAPE. 

Scene  on  the  Banks  of  a  River  with  a  Cottage  in  the 
right  foreground  and  a  Bridge  crossing  the  River  to 
the  left.  A  light  grey  sky  with  heavy  clouds  in  the 
background. 

The  undersigned  has  carefully  examined  a  picture  painted 
on  an  oval  panel,  15)4  inches  high,  21  inches  wide, 
representing  an  Inn  near  the  banks  of  a  river,  over 
which  leads  a  stone  bridge.  Before  the  Inn  is  a  peasant 
wagon  with  four  persons;  the  hostler  is  feeding  the 
horses  and  a  cavalier  is  galloping  towards  the  bridge. 
A  man  is  sitting  and  a  woman  standing  with  a  dog  in 
the  centre  of  the  foreground.  The  undersigned  con- 
siders this  picture  to  be  an  authentic  and  authentically 
monogrammed  work  of  Aert  van  der  Neer^  which  will 
be  described  as  such  in  his  forthcoming  Catalogue 
raisonne  of  this  master's  works.  1912. 

Dr.  Hofstede  de  Groot. 

Panel,  21  W.  by  IS^i  H.  Oval. 

Signed  with  Monogram  in  the  left  foreground. 


[66] 


LANDSCAPE. 

Beautiful  Landscape  with  fine  large  tree  in  the  middle, 
a  quaint  Castle  on  the  left  with  Figures  and  Riders 
on  Horseback  in  the  foreground. 

The  undersigned  has  carefully  examined  a  landscape 
painted  on  an  oval  panel,  15^  inches  high,  21  inches 
wide,  containing  a  lofty  tree  near  a  small  castle.  A 
lady  comes  out  of  the  gateway  and  is  descending  the 
steps.  Two  Cavaliers,  one  in  blue  on  a  white  horse 
and  one  in  red  on  a  brown  horse  are  speaking  with  a 
young  man  in  a  pink  costume,  who  is  accompanied  by 
a  dog.  In  the  middle  of  the  foreground  a  gentleman 
is  greeting  a  lady.  The  undersigned  considers  this 
picture  to  be  an  authentic  and  authentically  mono- 
grammed  work  of  Aert  van  der  Neer^  which  will  be 
described  as  such  in  his  forthcoming  Catalogue 
raisonne  of  this  master's  works.  1912. 

Dr.  Hofstede  de  Groot. 

Panel,  21  W.  by  15>^  H.  Oval. 

Signed  with  Monogram. 

These  two  Paintings  have  been  examined  and  pro- 
nounced authentic  by  Dr.  Wm.  R.  Valentiner. 


l«71 


No.  50 

MOREELSE,  PAULUS 

Born,  1571;  Died,  1638 

PORTRAIT  OF  A  YOUNG  GIRL  WITH  FLOWERS 
IN  HER  HAIR  AND  IN  HER  HAND. 

Very  decorative  rich  coloring.  It  comes  from  an 
English  private  Collection. 

Canvas,  19  W.20><H. 


[68] 


No.  51 

STORCK,  ABRAHAM 

Born,  1635;  Died,  1710 

VISIT  OF  THE  AMBASSADORS  TO  AMSTERDAM. 
The  Scene  is  laid  on  the  Banks  of  a  River,  with  the 
Buildings  of  the  City  in  the  right  foreground,  and 
boats  with  figures  on  the  River  to  the  left,  which 
stretches  out  in  the  distance  forming  a  beautiful 
perspective. 

Signed  and  dated  on  the  boat. 

Canvas,  39  W.  by  30  H. 

Bought  at  Christies. 


169] 


EARLY  GERMAN  ART 


No.  52 


CRANACH,  LUCAS 

Bom,  1472;  Died,  1553 

PORTRAIT  OF  A  MAN  IN  FUR  COAT. 

This  Portrait  rivals  the  works  of  Diirer  and  Holbein, 
its  vital  realism  has  not  been  excelled  by  either  of  these 
men;  most  astounding  work  of  Art. 

"Dieses  aus  dem  Besitz  des  Englischen  Malers  Holman 
Hunt  stammende  Portrait,  das  1912  in  der  Winter 
Exhibition  der  Londoner  Royal  Academy  (No.  32) 
ausgestellt  war,  halte  ich  fiir  ein  Werk  Lucas  Cranach 
d.  Alteren,  aiH^^Aftdh^^lDIUien  Zeit  (um  1512)." 

Max  1.  1*  nedlaender. 

Berlin,  d.  8  Juli,  1912. 


Panel,  14  W.  by  19  H. 


No.  52 


CRANACH,  LUCAS 

Born,  1472;  Died,  1553 

PORTRAIT  OF  A  MAN  IN  FUR  COAT. 

This  Portrait  rivals  the  works  of  Diirer  and  Holbein, 
its  vital  realism  has  not  been  excelled  by  either  of  these 
men;  most  astounding  work  of  Art. 

"Dieses  aus  dem  Besitz  des  Englischen  Malers  Holman 
Hunt  stammende  Portrait,  das  1912  in  der  Winter 
Exhibition  der  Londoner  Royal  Academy  (No.  32) 
ausgestellt  war,  halte  ich  fiir  ein  Werk  Lucas  Cranach 
d.  Alteren,  aus  seiner  friiheren  guten  Zeit  (um  1512)." 

Max  I.  Friedlaender. 

Berlin,  d.  8  Juli,  1912. 
Panel,  14  W.  by  19  H. 


I  73  J 


No.  53 


CRANACH,  LUCAS 

Born,  1472;  Died,  1553 

PORTRAIT    OF    THE    GREAT  ELECTOR 
FREDERICK. 

Friedrich  bin  ich  billig  genannt 

Schoenfeld  ist  mein  Vaterland 

Durch  groz  Geduld  Vernunft  und  Glueck 

Wiederstand  ich  der  Feinde  Tueck 

Das  Land  ziert  ich  durch  manch  Gebaeu 

Und  stifFt  die  Hohes  'hut  aufs  neu 

Zu  Wittenberg  im  Sachsenland 

In  der  Welt  sehr  wol  bekannt 

Denn  aus  derselb  kam  Gottes  Wort 

Und  Lehren  hin  an  manchen  Ort 

Das  Paepstlich  Reich  stuertzt  ich  danieder 

Und  bracht  den  rechten  Glauben  wieder 

Zum  Kaiser  ward  erkohren  ich, 

Des  mein  Alter  beschweret  sich 

Dafuer  ward  Kaiser  Carl  erwaehlt 

Von  dem  mich  nicht  wandt  Gunst  noch  Geld. 

Panel,  5H  W.  by  8  H. 


174] 


No.  54 


CRANACH,  LUCAS 

Born,  1472;  Died,  1553 
(A  Court  painter  of  the  Great  Elector  Frederick) 

HERCULES   VISITING   THE    DAUGHTERS  OF 
LYCOMEDES. 

A  canvas  full  of  action  and  humor  representing  the 
artist  and  his  daughters  in  serio-comic  position 
entwined  by  Omphale. 

Panel,  47>^  W.  by  32^  H. 

"The  two  paintings  by  Cranach  which  you  showed  me, 
the  portrait  of  Frederick  the  Great  Elector  and  the 
composition  representing  Hercules  visiting  the  daugh- 
ters of  Lycomedes,  are  genuine  examples  of  thi't 
master  and  in  uncommonly  excellent  state  of  preserva- 
tion." 

Max  I.  Friedlaender. 


173] 


No.  55 


CRANACH,  LUCAS 

Born,  1472;  Died,  1553 

MADONNA  AND  CHILD  WITH  GRAPES. 

Three-quarter  figure  of  the  Madonna  in  sitting  attitude 
holding  the  Infant  Jesus  who  is  standing  on  her  knee, 
with  her  left  hand.  In  her  right  hand  she  has  a  bunch 
of  grapes,  of  which  the  Child  has  plucked  one  which  he 
is  holding  up  in  his  hand. 

Panel,  14  W.  by  22}i  H. 

"The  Cranach  Madonna  has  the  signature  which  was 
used  by  him  with  the  beginning  of  1537  (Dragon  with 
open  wings),  a  particularly  attractive  and  splendid 
.  work  of  that  period." 

Max  I.  Friedlaender. 


176] 


No.  56 


MIELICH  (Muelich)  HANS 

Born,  1510;  Died,  1572 

PORTRAIT  OF  A  MAN. 

This  portrait  of  a  man  about  60  years  of  age  represent- 
ing the  sturdy  type  of  a  German  master  of  the  Guilds 
with  the  expression  of  the  Bourgeois  of  the  time,  a 
type  of  Hans  Sachs. 

MueHch  was  Court  painter  to  the  Duke  Albert  V  of 
Bavaria.  His  portraits  are  rare;  the  Munich  Gallery 
has  two,  and  they  are  occasionally  seen  in  the  private 
collections  of  Germany. 

Panel,  20  W.  by  27  H. 

"Dieses  vornehme  Portrait  von  Muehlich  bewundere 
ich  sehr,  es  ist  eine  hervorragende  Arbeit  dieses  Meis- 
ters." 

Max  I.  Friedlaender. 


[771 


No.  57 


RHENISH  SCHOOL 

THE  LAST  JUDGMENT. 

Low  German,  about  1490,  very  peculiar  (it  came  from 
Russia  and  was  sold  in  Berlin),  extremely  interesting 
in  color,  and,  in  removing  it  from  the  wall,  a  portrait 
of  a  Bishop  with  Saints  painted  on  the  back  was  dis- 
covered. The  frame  is  the  original  wooden-carved 
Gothic  frame  of  the  period  which  makes  it  particularly 
valuable  and  interesting. 

Panel,        W.  by  55}^  H. 


[78] 


No.  58 


SCHOOL  OF  COLOGNE 

(Fifteenth  Century) 

MADONNA  AND  CHILD  IN  A  LANDSCAPE. 

Most  beautiful  Picture  of  brilliant  colouring.  This 
Madonna  seems  to  be  by  an  excellent  Painter  of  the 
Cologne  school  about  1490. 

"Dieses  Madonna  Bild  scheint  das  Werk  eines  vortreff- 
lichen  Colnischen  Meisters  aus  der  Zeit  um  1490  zu 
sein  und  steht  den  Arbeiten  des  sogenannten  Meisters 
der  heiligen  Sippe  nahe." 

Max  I.  Friedlaender. 

Berlin,  d.  8  Juli,  1912. 
Panel,  21  W.  by  30  H. 


[791 


No.  59 

SCHAFFNER,  MARTIN 

Born,  1499;  Died,  1535 

SYMBOLISM,  PAINTED  FOR  THE  GUILD  OF 
MASONRY. 

The  Painting  is  oblong  in  the  form  of  a  Cassone. 
This  most  excellent  Painter  of  the  Ulm  School  was 
very  realistic  and  excelled  in  true  portrait-like  repre- 
sentation of  Individuals. 

Very  fine  and  exceedingly  rare. 

Panel,  42>^  W.  by  20}4  H. 


[80] 


No.  60 


MASTER  OF  THE  DEATH  OF  THE  VIRGIN 

End  of  Fifteenth  Century 

VIRGIN  AND  CHILD. 

The  Master  of  the  Death  of  the  Virgin  is  a  Painter  of  the 
Cologne  School,  he  has  painted  some  pictures  which 
belong  to  the  most  prominent  Monuments  of  German 
Art.  His  motives  are  mostly  sentimental  remote 
from  Idealism,  but  show  thorough  soulful  Charac- 
teristics. 

"Diese  Madonna  die  aus  Portugal  stammt  ist  ein  Werk 
des  Meisters  des  Todes  Mariae." 

Max  I.  Friedlaender. 

Berlin,  d.  8  Juli,  1912. 
Panel,  lOH  W.  by  UH  H. 


[81] 


EIGHTEENTH  CENTURY 
FRENCH  PAINTINGS 


NOTE. 

The  Art  sensation  of  this  year  was  the  Doucet  Sale, 
which  took  place  in  Paris  from  the  5th  to  the  8th  of 
June;  all  important  Museums,  Collectors  and  Dealers 
were  represented;  the  bidding  was  most  spirited  and  not 
in  all  cases  judicious;  but  the  fact  remains,  that  it 
created  a  demand  unsuppliable  for  18th  Century  French 
Paintings.  The  charm,  grace  and  fascination  of  these 
Pictures  which  represent  the  frivolous  and  intoxicating 
spirit  of  the  day,  has  not  been  denied  by  anyone,  which 
in  itself  justifies  the  reason  of  this  Popularity. 

Victor  G.  Fischer. 


[86] 


No.  61 
VIGEE— LE  BRUN 
(Louise,  Elizabeth) 

MADEMOISELLE  DE  FRIES,  AS  SAPHO. 

This  is  a  very  admirable  Portrait  which  Madame  Vigee- 
Lc  Brun  painted  during  her  stay  in  Vienna,  where  she 
spent  two  and  a  half  years.  In  her  Souvenirs  she 
speaks  of  the  young  Comptesse  Fries.  "Comptesse 
de  Fries,  widow  of  the  famous  Banker  of  that  name, 
had  a  very  pretty  Theatre  and  I  frequently  witnessed 
very  good  acting  there,  her  daughter  Mademoiselle  de 
Fries  had  a  beautiful  voice  and  sang  delightfully." 
Pierre  de  Nolhac  in  lys  Biow^Rhy  of  Madame  Vigee- 
Le  Brun  says^n^Sge^^lUn'^^J^antes  les  jolies  femmes 
qui  rencontwri«ift  ^^'fififtfceif'n^eStes  les  desoeuvrees 
qui  venaient  chez  elle  par  mode  admirer  la  fameuse 
Sibylle,  Souhaitaient  avoir  leur  portrait;  elle  S'arran- 
geait  pour  Taccorder  Seulement  a  celles  dont  le  visage 
rinspirait.  C'est  ainsi  qu'elle  fit  la  tres  belle  comtesse 
Kinsky,  nee  comtesse  de  Dietrichstein,  la  baronne 
de  Mayem — Faber,  la  comtesse  Pallfy,  une  princesse 
Eszterhazy  revant  au  bord  de  la  mer,  assise  sur  des 
rochers,  la  comtesse  Sophie  Haugwitz,  en  Muse,  avec 
un  manteau  rouge,  et  la  jeune  princesse  de  Lichtenstein, 
que  sou  expression  douce  et  celeste  donna  Tidee  de 
representer  en  Iris  s'elan9ant  dans  les  airs.  Mademoi- 
selle de  Fries  n'etiat  pas  jolie,  mais  excellente  musici- 
enne,  ce  qui  lui  valut  d'etre  peinte  en  Sapho,  chantant 
et  S'accompaynant  de  la  lyre." 

(«7  1 


No.  61 
VIGEE— LE  BRUN 
(Louise,  Elizabeth) 

MADEMOISELLE  DE  FRIES,  AS  SAPHO. 

This  is  a  very  admirable  Portrait  which  Madame  Vigee- 
Le  Brun  painted  during  her  stay  in  Vienna,  where  she 
spent  two  and  a  half  years.  In  her  Souvenirs  she 
speaks  of  the  young  Comptesse  Fries.  "Comptesse 
de  Fries,  widow  of  the  famous  Banker  of  that  name, 
had  a  very  pretty  Theatre  and  I  frequently  witnessed 
very  good  acting  there,  her  daughter  Mademoiselle  de 
Fries  had  a  beautiful  voice  and  sang  delightfully." 
Pierre  de  Nolhac  in  his  Biography  of  Madame  Vigee- 
Le  Brun  says  on  page  107:  "Tantes  les  jolies  femmes 
qui  rencontraient  Fartiste,  toutes  les  desoeuvrees 
qui  venaient  chez  elle  par  mode  admirer  la  fameuse 
Sibylle,  Souhaitaient  avoir  leur  portrait;  elle  S'arran- 
geait  pour  Taccorder  Seulement  a  celles  dont  le  visage 
rinspirait.  Cest  ainsi  qu'elle  fit  la  tres  belle  comtesse 
Kinsky,  nee  comtesse  de  Dietrichstein,  la  baronne 
de  Mayern — Faber,  la  comtesse  Pallfy,  une  princesse 
Eszterhazy  revant  au  bord  de  la  mer,  assise  sur  des 
rochers,  la  comtesse  Sophie  Haugwitz,  en  Muse,  avec 
un  manteau  rouge,  et  la  jeune  princesse  de  Lichtenstein, 
que  sou  expression  douce  et  celeste  donna  Tidee  de 
representer  en  Iris  s'elanfant  dans  les  airs.  Mademoi- 
selle de  Fries  n'etiat  pas  jolie,  mais  excellente  musici- 
enne,  ce  qui  lui  valut  d'etre  peinte  en  Sapho,  chantant 
et  S'accompaynant  de  la  lyre." 


1871 


A  full  page  reproduction  in  Photogravure  on  page  109 
in  the  same  Work. 

Canvas,  25^  W.  32^  H.,  Oval. 

Collection:  A.  Tattet. 


[88] 


No.  62 

VIGEE-LE  BRUN 
(Louise,  Elizabeth) 

PORTRAIT  OF  A  YOUNG  LADY. 

A  very  rich  Portrait  with  unusual  Charm. 

Canvas,  29^  W.  by  3S}4  H. 

Signed  and  dated  1781. 

From  the  Collection  of  Lord  Grimthorp. 

Private  Collection  of  Monsieur  Jacques  SeHgmann,  Paris. 


1891 


No.  63 


DROUAIS,  FRANCOIS  HUBERT 

Born,  1727;  Died,  1775 

LA  DUCHESSE  DE  LA  VRILLI£RE. 

Drouais  was  a  most  charming  decorative  Portraitist  of 
exquisite  taste  and  fascination,  the  whole  Royal  Family 
and  most  of  the  Beauties  of  the  day  were  painted  by 
him,  Madame  de  Pompadour  was  his  grand  Protec- 
tress. The  Louvre  has  by  him  Comte  d'  Artois  after- 
wards Charles  X  and  his  sister  Madame  Clotilde 
afterwards  Queen  of  Sardinia  and  Child. 

Every  visitor  of  the  Museum  of  Orleans  will  remember  his 
charming  Portrait  of  Madame  de  Pompadour. 

Canvas,  2SH  W.  by  32}4  H. 

Most  superb  frame,  wood  carving  of  the  Period. 

Collection:  Baron  Maurice  de  Rothschild. 


[»oi 


No.  63 


DROUAIS,  FRANCOIS  HUBERT 

Born,  1727;  Died,  1775 

LA  DUCHESSE  DE  LA  VRILLI£RE. 

Drouais  was  a  most  charming  decorative  Portraitist  of 
exquisite  taste  and  fascination,  the  whole  Royal  Family 
and  most  of  the  Beauties  of  the  day  were  painted  by 
him,  Madame  de  Pompadour  was  his  grand  Protec- 
tress. The  Louvre  has  by  him  Comte  d*  Artois  after- 
wards Charles  X  and  his  sister  Madame  Clotilde 
afterwards  Queen  of  Sardinia  and  Child. 

Every  visitor  of  the  Museum  of  Orleans  will  remember  his 

Canvas,  25^  V^ib^'Sl^bU^edovQ  bJ 

Most  superb  frame,  wood  carving  of  the  Period. 

Collection:  Baron  Maurice  de  Rothschild. 


[•01 


Nos.  64  and  65 


ROBERT,  HUBERT 

Born,  1733;  Died,  1808 

A.  STAIRCASE  AND  FOYER  OF  THE  VILLA 
MEDICIS  IN  ROME. 

B.  VIEW  OF  THE  ROMAN  ARENA  AT  NIMES. 
Signed  and  dated  1771  and  1772. 

Pierre  de  Nolhac,  says  in  his  Biography  of  Hubert  Robert 
on  page  2: 

"Le  plus  fameux  du  groupe,  Hubert  Robert,  se  rattache 
directement,  apres  un  siecle,  a  la  tradition  magnifique 
de  Claude  Gelee.  II  a,  comme  le  maitre  lorrain,  la 
passion  des  etudes  dessinees  en  plein  air,  le  sens  des 
arrangements  pittoresques  et  ce  gout  de  meler  des 
(fabriques)  importantes  aux  feeries  des  grands  ciels, 
aux  masses  contrastees  des  feuillages  et  des  aux.  Son 
oeuvre,  comme  celle  de  Claude,  degage  une  Sorte  de 
poesie  qui  penetre  Tame  sans  la  troubler  et  ouvre 
a  rimagination  Thorizon  des  grandes  reveries.  Un 
trait  commun  unit  encore  ces  deux  caracteres.  Tltalie 
les  a  possedes  profondement  et  marque  toute  leur 
production  de  son  empreinte;  non  pas  Tltalie  des 
peintres  academiques,  dont  Timitation  S*imposa  pen- 
dant trois  siecles  dans  la  formation  des  artistes,  mais 
celle  de  la  nature  et  des  monuments,  telle  qu'une 
histoire  incomparable  semble  Tavoir  preparee  pour 
Teducation  morale  de  Thumanite  Sans  Tltalie,  ni 

101] 


Claude  Lorrain,  ni  Hubert  Robert  n'eut  ete  revele 
completement  a  lui-meme;  ils  lui  doivent,  autant  que 
la  qualite  de  leur  lumiere,  les  formes  propres  de  leur 
pensee. 

II  n'y  a  pas  a  pousser  plus  loin  le  parallele.  Claude  reste, 
en  son  siecle,  un  isole,  et,  pour  parler  de  lui,  le  mot  de 
geme  se  presente  dans  la  plenitude  de  son  sens  integral. 
II  habite  une  region  de  Tart  au  ne  s'eleverent  jamais 
les  peintres  exquis  et  spirituels  comme  Hubert  Robert. 
Les  merites  de  celni-ci  seront  juges  assez  grands,  s'il  a 
reveille  des  forces  endormies  dans  la  sensibilite  fran- 
9aise  de  sou  temps,  s'il  a  contribue  a  restituer  a  notre 
ecole,  comme  un  genre  independant,  Tinterpretation 
de  la  nature,  et  s*il  a  laisse  des  oeuvres  originales  dout 
la  valeur  decorative  n'est  pas  depassee.  Nous  ne 
voulons  pas  demontrer  davantage,  et  nous  serons 
satisfaits  si  si  nous  pouvons  justifier,  par  des  obser- 
vations precises,  la  persistante  predilection  que  pro- 
fessent  quelques-uns  d'entre  nous  pour  un  maitre  trop 
dedaigne  a  certaines  epoques,  oublie  meme  par  les 
critiques  celebres  qui  ont  fait  metier  de  rehabiliter  le 
XVIIIe  siecle  francais." 

Canvas,  40  W.  by  30  H. 

Collection  of  Prince  Wladimir  OchotnikofF. 

Collection  of  Elizabeth,  Princess  Troubetzkoi,  St.  Peters- 
burg. 


[92] 


Nos.  66  and  67 

PATER,  JEAN  BAPTISTE 

Born,  1694;  Died,  1736 

A.  FfiTE  CHAMPETRES. 

B.  COMPANION. 

Pater  was  a  pupil  of  Watteau  and  painted  most  enchant- 
ingly,  he  was  a  favorite  of  Voltaire  who  recommended 
him  to  Frederick  the  Great,  of  Prussia.  In  the  Gallery 
of  Sans-Souci  are  his  masterpieces.  His  paintings  are 
rare. 

Canvas,  14  W.  by  12  H. 

Collection  of  Sir  Edgar  Vincent,  Trustee  of  the  National 
Gallery,  London. 


[93] 


No.  68 


EISEN,  CHARLES 

Born,  1720;  Died,  1778 

CUPIDS  AND  FLOWERS. 

Lady  Dilke  in  her  work  on  Eighteenth  Century  French 
Engravers  and  Draughtsmen,  says:  "The  brilHant 
series  of  Eisen*s  Illustrations  and  Drawings  will  always 
remain  his  chief  title  to  fame,  even  when  Eisen'sArt 
offers  us  a  less  delicately  poised  elegance,  his  wit,  his 
facility  of  invention,  his  power  of  touching  with 
piquancy  every  expression  and  pose,  carry  off  the 
necessary  freedom  of  treatment  of  themes  essentially 
free,  for  the  light  touch  of  his  pencil  is  exquisitely 
appropriate  to  the  airy  mockery  of  vice  and  folly, 
with  which  the  witty  storyteller  entertains  his 
readers."  His  Paintings  are  airy  nothings  of  most 
fascinating  touch. 

Canvas,  28>^  W.  by  20  H. 

Collection:   Edmond  Bouchardon,  Tours. 


AMERICAN  BANK  NOTE  COMPANY 


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